Godspell JR Perusal

Actor’s Script

Front Matter © 2012 iTheatrics Broadway Junior The Broadway Junior Collection Family Matters , and ShowKit are registered trademarks of Music Theatre International. All rights reserved. Unauthorized duplication is prohibited by law.

Godspell JR. Actor’s Script © 2012 MTI Enterprises, Inc.

Godspell Book © 1971 by The Cathedral of St. John The Divine; Sidney Feinberg, as trustee under the Will of John-Michael Tebelak for the Benefit of Abby Williams, as Beneficiary of such Trust; Trudy Williams; William Crawford III; Richard Hannum and Stephen Schwartz Music & Lyrics © 1971, 1972 by Range Road Music, Inc., Quartet Music Inc. and New Cadenza Music Corporation. Used By Permission. Actor’s Script

welcome to the theater

CONGRATULATIONS!

You’ll be working with your creative team and fellow cast members to put on a musical. Before you begin rehearsals, there are some important things you should know.

This book is your script. Whether putting on a school production or rehearsing a professional show, every actor, director and stage manager works from a script. Your script contains some additional information like this introduction and a glossary. You can look up any words written in bold in the glossary at the back of this book. Be sure to take good care of your script, as it’s the roadmap for your performance. And use a pencil when taking notes in your script, since what you’ll be doing onstage can change during rehearsals.

One of the first things you’ll need to learn is what to call the various areas of the stage. Since most stages used to be raked, or tilted down toward the house, we still use the term downstage to refer to the area closest to the audience and upstage to refer to the area furthest from the audience. Stage left and stage right are from the actor’s perspective when facing the audience. The diagram above shows how to use these terms to label nine different parts of your stage.

what to expect during rehearsals

You will be performing a musical, a type of play that tells a story through songs, dances and dialogue. Because there are so many parts of a musical, most shows have more than one author. The composer writes the music and usually works with a lyricist, who writes the lyrics, or words, to the songs. The book writer writes the dialogue (spoken words, or lines ) and the stage directions (unspoken words) that tell the actors where to go onstage.

Your director will plan rehearsals so that the cast is ready to give their best performance on opening night! Remember your warm-ups before each rehearsal so that your mind, body and voice are ready to go. Every rehearsal process is a little bit different, but here is an idea of what you can expect as you begin to work on your show.

music:

Since you’re performing a musical, it is important to learn the music early on in the rehearsal process. Your music director will teach the cast all the songs in the show and tell you what to practice during rehearsals and at home.

choreography:

After you’ve got the music down, you’ll begin working on the choreography – or dance – in the show. Your choreographer will create the dances and teach them to the cast. The music and the choreography help the audience understand the story you are telling. But, there is one important piece left…

blocking & scene work:

Your director will block the show by telling the cast where to stand and how to move around the stage. You’ll use your theater terms (downstage left, upstage right, etc. defined on page ii) all the time during this portion of the rehearsal process. You will also practice speaking your lines and work on memorizing your part. The term for rehearsing your part from memory is called being off-book

make the script your own

Always write your name legibly, either on the cover of your script or on the title page. Scripts have a way of getting lost or changing hands during rehearsals!

Mark your lines and lyrics with a bright-colored highlighter to make your part stand out on the page. This will allow you to look up from your script during rehearsals, since it will be easier to find your place when you look back down.

Underline important stage directions, lines, lyrics and individual words. For example, if your line reads “Why say it, when we could show you in an extravagant musical number!” and your director wants you to stress the word “extravagant,” underline that word in your script.

Save time and space by using the following standard abbreviations:

ON: onstage

OFF: offstage

US: upstage DS: downstage

SL: stage left SR: stage right

CS: center stage X: cross

You may use these abbreviations to modify other instructions (e.g., you could write “R hand up” to remind yourself to raise your right hand). You may also combine them in various ways (e.g., you could write “XDSR” to remind yourself to cross downstage right).

Draw diagrams to help clarify your blocking. For example, if you are instructed to walk in a circle around a table, you might draw a box to represent the table, then draw a circle around it with an arrow indicating the direction in which you are supposed to walk.

Draw stick figures to help you remember your choreography. Remember, the simpler the better.

Mark your music with large commas to remind yourself where to take breaths while singing.

Although you should feel free to mark up your script, be careful it doesn’t become so cluttered with notes that you have a hard time finding your lines on the page! 1 2 3 4 5 6 7 8

some tips for the theater

Don’t upstage yourself. Cheat out so the audience can always see your face and hear your voice.

Always arrive at rehearsal on time and ready to begin.

It takes an ensemble to make a show; everyone’s part is important.

Keep going! If you forget a line or something unexpected happens, keep the scene moving forward. Chances are, the audience won’t even notice.

Be respectful of others at all times. Remember to thank the director and fellow cast and crew members.

If you are having trouble memorizing your lines, try writing them down or speaking them aloud

Bring your script and a pencil to rehearsal.every

Before the show, say “break a leg”– which means “good luck” in the theater.

Be specific! Make clear choices about your character’s background and motivation in the show.

Always be quiet backstage. And keep in mind, if you can see the audience, they can see you; so stay out of sight.

Godspell JR. plot synopsis

The players enter and JESUS addresses the audience. The sound of a shofar is heard and JOHN THE BAPTIST enters, baptizing the others in preparation for the coming of Jesus (Prepare Ye – The Way of the Lord). Jesus is baptized and welcomes the others as the DISCIPLES (Save The People). He selects one of them to be the Judge in the first parable. The story of “The Judge and the Widow” teaches us that God shall “vindicate his chosen, who cry out to him day and night.” A new parable, the story of a Servant who owed a debt to his Master, begins with one player narrating and the others performing the action. Jesus shares the moral with the Disciples and one steps forward, declaring loyalty to Jesus (Day By Day). When Jesus suggests that you should turn the other cheek to someone who does you wrong, JUDAS needs some convincing. The players act out the story of “The Good Samaritan.” The lesson continues with Jesus reminding everyone to love not just our friends, but our enemies too (Learn Your Lessons Well). One of the Disciples tells the story of a Rich Man whose worldly possessions amount to nothing on the day of reckoning. The importance of blessing God for giving and sustaining life is expressed by the group (O, Bless the Lord, My Soul)

The Disciples play a “complete-thesentence” game with Jesus, reciting the beatitudes (Matthew 5:3 – 5:10). Judas angrily shouts the final blessing at Jesus, foreshadowing what is to come. Jesus reminds everyone that the ultimate reward awaits them in Heaven (All For the Best). Jesus selects a shy child to narrate the next parable of a

sower who sows some seeds. This story inspires a song of thanks (All Good Gifts). The cast members are separated into sheep, who have done good for the Lord and will be welcomed into heaven, and goats, who will be condemned to the eternal fire for all that they did not do for the Lord. The goats lead the group in begging for mercy (We Beseech Thee)

A company member steps forward to narrate the story of “The Prodigal Son,” which the rest of the company acts out. Following the parable, Jesus leads the Disciples in a chant illustrating the “Golden Rule.” They encourage everyone to spread their “light” to others (Light Of the World) The celebratory mood is interrupted by Jesus declaring, “This is the beginning.” Suddenly somber, Jesus moves away. One of the followers stops Jesus and reminds him of all that has been done and the community that has been built to prepare for what is to come (Beautiful City). Jesus reveals that Judas will betray him. Judas exits and the others join Jesus in “The Last Supper.” When the supper ends, Jesus removes himself from the group to pray. Judas returns and crucifies Jesus. Jesus cries out to God as he dies (Finale). When it is over, there is stillness, followed by mourning. Finally, the Disciples rejoice and celebrate God as they triumphantly carry Jesus from the stage. The full company returns to the stage and the show ends with a joyful reprise of “Day By Day” (Bows).

Godspell JR. characters

Jesus

Judas/John the Baptist

Soloists:

Day By Day Solo

Learn Your Lessons Well Solo 1

Learn Your Lessons Well Solo 2 O, Bless the Lord, My Soul Solo All Good Gifts Solo We Beseech Thee Solo Light Of the World Solo 1 Light Of the World Solo 2 Beautiful City Solo

Narrators

Ensemble

(As the house lights dim, the CAST enters.)

SCENE ONE

JESUS

My name is known: God and King. I am most in majesty, in whom no beginning may be and no end. Highest in potency I am, and have been ever. I have made stars and planets in their courses to go. I have made a moon for the night and a sun to light the day also. I have made earth where trees and grasses spring, beasts and fowl, both great and small, all thrive and have my liking. I have made all of nothing for Man’s sustenation, and of this pleasant garden that I have mostly goodly planted, I will make him Gardener for his own recreation.

(They freeze. Suddenly the sound of a shofar is heard from the back of the theater. JOHN THE BAPTIST enters blowing the shofar, he sings as he slowly makes his way towards the stage.)

PREPARE YE

Godspell JR.

inside it.)

(The CAST erupts into cheers and leaps of joys. The lights become full of color and intensity. It is as if a black-and-white film has suddenly turned into color. During the following, JOHN comes onstage and each CAST MEMBER comes foward in turn to be baptized by JOHN in an individual and amusing way.)

(As the last note is sung, JOHN turns and begins an impassioned sermon to the audience, not noticing JESUS. JESUS watches JOHN curiously during his sermon.)

JOHN THE BAPTIST

You vipers’ brood! Who warned you to escape from the coming retribution? Then prove your repentance by the fruit it bears; and do not presume to say to yourselves, “We have Abraham for our father.” I tell you that God can make children for Abraham out of these stones here. Already the ax is laid to the roots of the trees; and every tree that fails to produce good fruit is cut down and thrown on the fire. I baptize you with water, for repentance sake…

(JESUS picks up the baptismal bucket and looks at it curiously as JOHN continues.)

But he who comes after me is mightier than I. I am not fit to take off his shoes.

(JESUS lifts up one of his shoeless feet and looks at it.)

He will baptize you with the Holy Spirit and with fire.

(JOHN turns and sees JESUS standing there, holding out the baptismal bucket. JOHN is surprised to see JESUS.)

(JOHN THE BAPTIST)

Do you come to me?

JESUS

Yeah, I wanna get washed up.

JOHN THE BAPTIST

(kneels reverently before JESUS) I need to be baptized by you.

JESUS

(gently brings JOHN back to his feet)

No, no. Let it be so for the present. We do well now to conform with all that God requires.

(During the following, as JESUS sings, JOHN baptizes him by giving him a light sponge bath. JESUS seems to have the freshness and simplicity of a newborn. Throughout the following the rest of the CAST looks through an old trunk upstage, sorting through various clothes and props.)

SAVE THE PEOPLE

Save the People

God save the peoJ

Thy chil - dren as

Thy an - gels

GROUP 2: (As they sing, JOHN gets the rest of JESUS' clothes and helps him to dress.)

save the peo - ple?

.

save the peo - ple?

(GROUP 1:)

mer - cy, when?

(GROUP 2:)

mer - cy, when?

Not thrones and

The peo - ple,

Not thrones and

The peo - ple,

Lord, the peo - ple, œ

Lord, the peo - ple,

crowns, but w men! w men! Fast

(During the following they establish the set of the show.)

.

God save the peo -

God save the peo -

for thine they

for thine they

God

the

the

(During the following, JESUS gives the others an insignia to show they are his “apostles”: a costume piece, badge, or make-up on their faces, etc.)

JESUS

Now, do not suppose that I have come to abolish the Law and the prophets. I did not come to abolish but to complete. I tell you this: So long as heaven and earth endure not a letter, not a stroke will disappear from the Law until all that must happen has happened. If any man, therefore, sets aside even the least of the Law’s demands he will have the lowest place in the kingdom of Heaven.

(A disappointed reaction from ALL.)

(JESUS)

But he who keeps the law and teaches others so, he will have the highest place in the kingdom of Heaven.

(A joyous reaction from ALL.)

SCENE TWO

There once was a judge...

(JESUS)

(JESUS selects a CAST MEMBER to play the JUDGE.)

...Who cared nothing for God nor man... And in the same town there was a widow...

(JESUS now selects another CAST MEMBER to play the WIDOW.)

...who constantly came before him demanding justice against her rival. For a long time he refused, but in the end he said to himself...

JUDGE

“True. I care nothing for God nor man. But this widow is so great a nuisance, I will see her righted before she wears me out with her persistence.”

JESUS

You hear what the unjust judge says: And will not God vindicate his chosen, who cry out to him day and night while he sits listening patiently to them?

OTHERS

Will he, Jesus? Will he, will he? (et al)

JESUS

I tell you, he will vindicate them, soon enough.

OTHERS

Yay!

(JESUS selects a NARRATOR for the next parable.)

SCENE THREE

(In rhythm – this could be rap style:)

KING NARRATOR 1

There once was a king...

(A CAST MEMBER portrays the KING.)

ALL

Yeah, yeah!

KING NARRATOR 1

...Who decided to settle accounts with the men who served him.

ALL

Yeah, yeah, yeah!

KING NARRATOR 1

Well, at the outset there appeared before the master a man whose debt ran into the millions.

(Another CAST MEMBER portrays the DEBTOR.)

ALL

What?

I said the millions!

KING NARRATOR 1

ALL Whoa!!

KING NARRATOR 1

Since the man had no means of paying the money, the master ordered him to be sold to meet the debt with his wife...

ALL No!

KING NARRATOR 1

...And his child...

ALL Whoa!

KING NARRATOR 1

...And everything he had. Well, the man threw himself down at the master’s feet and went:

ALL

Unh!

DEBTOR

“Oh, be patient with me...”

KING NARRATOR 1

...He said,...

DEBTOR

“...and I will pay you in full.”

KING NARRATOR 1

(no longer talking in rhythm)

And so moved with pity was the master, that he decided to free the man and remit the debt, and let’s hear it for the master!

ALL

(to each other and audience)

Yay! Huzzah! What a great master!! (etc.)

JUDAS

Wait a minute! That’s not the end of the story. No sooner had the man gone out than he met a fellow servant who owed him a few dollars. He gripped him by the throat and said:

(DEBTOR crosses to the FELLOW SERVANT and grabs him by the collar.)

DEBTOR

“Pay me what you owe me!”

JUDAS

The man threw himself at his fellow servant’s feet and begged him, saying:

FELLOW SERVANT

(falls to his knees)

“B-b-b-b-b-be patient with me and I shall p-p-pay you.”

JUDAS

But he refused and had him jailed until he could pay the debt.

(DEBTOR “kicks” FELLOW SERVANT and he crawls under the table into the “jail.”)

KING NARRATOR 2

Well! The other servants were deeply distressed when they saw what had happened.

(ALL jump.)

They ran and they told their master the whole story!

(ALL jump twice.)

Accordingly he sent for...

(The CAST drums their hands on the stage in a drum roll.)

...The Man!!!

(DEBTOR throws herself to the ground in front of the KING.)

THE KING

“You scoundrel!”

...He said to him.

KING NARRATOR 2

THE KING

“I remitted the whole of your debt when you appealed to me. Were you not bound to show your fellow servant the same pity I showed you?”

KING NARRATOR 1

And so fricken was the skrickpocket that he clickened the stortz and furplunkt the schmontz!

KING NARRATOR 1

(as someone “scary” and associated with horror movies, like Bela Lugosi or Vincent Price)

And so angry was the master that he condemned the man to torture until he could pay the debt in full.

(ALL lean threateningly over the table towards the DEBTOR.)

ALL

Unh-unh-unh.

(JESUS stands up and gently delivers the moral to the others.)

JESUS

And that is how my Heavenly Father will deal with you, unless you each forgive your brothers from your hearts.

(SOLOIST shyly comes forward and faces JESUS, becoming the first disciple to declare loyalty.)

the original production, the staging involved each miming a task or activity he or she might do during the course of a typical day.)

the original production, the staging involved each miming a task or activity he or she might do during the course of a typical day.)

(The SOLOIST and JESUS smile at each other. At some point before the end of the song, the SOLOIST and JESUS should share a specific gesture that can be repeated during the “Good-bye” scene.)

JESUS

So, judge not, that you yourself shall not be judged. For whatever you deal out to others...

(The SOLOIST “punches” whomever is next to her. The “punch” travels down the line of the others, in various forms of comic “violence,” accompanied by a vocal noise for each one. Once the SOLOIST has started the chain reaction, JESUS takes her and they run around the line, so that the SOLOIST is now at the end. Needless to say, she is there to receive the last “punch.” She falls back into JESUS’ arms.)

(The CAST reacts.)

(JESUS)

Therefore, never set yourself against a man who wrongs you. So if someone slaps you on the right cheek, turn and offer him your left.

JUDAS

(reacting as if this is the most ridiculous thing ever heard) Oh, Jeeeee...

(A CAST MEMBER claps a hand over JUDAS’ mouth. JESUS turns to look at him, then approaches JUDAS as the others chant.)

ALL

Slowly I turn, step by step, inch by inch...

(JESUS slaps JUDAS across the face. The OTHERS gasp and JUDAS angrily raises his hand to strike back. He freezes with his hand in the mid-air. Looking at his hand, he suddenly turns it into a “telephone” and pretends to get a call.)

JUDAS

Hello.

(pretends to listen; then to JESUS)

It’s for you... It’s your father. He says “you’ve just won tickets to The Good Samaritan Show!”

SCENE FOUR

(JESUS and JUDAS smile at each other and hug. The OTHERS set up for the “show.” During the following, the story is acted out in an imaginative theatrical way with different actors, playing the roles.)

SAMARITAN NARRATOR

A man was on his way from Jerusalem to Jericho, when he fell in among robbers who beat him, stripped him, and left, leaving him half-dead. It so happened that a priest came upon him, but when he saw him he went past on the other side. So, too, a judge came to the place and saw him and went past on the other side. But, a Samaritan who was making the journey came upon him, and when he saw him, was moved to pity. He went up and bandaged his wounds, bathing them in oil and wine.

(SAMARITAN NARRATOR)

Then he put him onto his own beast, brought him to an inn, and looked after him there. The next day he produced two pieces of silver and gave them to the innkeeper and said, “Look after him, and if you spend any more, I will repay you on my way back.”

(Those who acted out the story bow.)

JESUS

Now – you have learned that they were told, “Love your neighbor, hate your enemy.” But what I tell you is this...

(During the above, two CAST MEMBERS have begun fighting over a prop from “The Good Samaritan Show.” Their argument becomes intrusive enough to interrupt JESUS. The OTHERS start to take sides so that soon all are fighting. JESUS has to shout to be heard above the noise.)

Love, love, love, love your enemies.

(ALL freeze in place.)

And pray for your persecutors.

CAST MEMBER

(indicating the person he or she has been fighting with) You don’t mean...?

JESUS

I do! Only so can you be called Children of your Heavenly Father.

(The CAST begins “making up” with their enemies in a general love-fest that gradually gets noisier in an ostentatious display of how much they “love” one another. As this is occurring, JESUS tries to continue his lesson.)

If you greet only those who greet you, what reward can you expect? And if you love only those who love you, what is there extraordinary in that? No, your goodness must know no bounds, just as your Heavenly Father’s goodness knows no limit.

(By now, the “love-fest” has become so noisy, JESUS must get their attention by making a large noise with a prop or set piece. ALL fall silent and turn to look at him.)

(JESUS)

But, be careful not to make a show of your religion before men.

(They hang their heads in shame.)

ALL

Oh.

JESUS

Because if you do, no reward awaits you in the kingdom of my Father. When you do some act of charity, don’t announce it with a flourish of trumpets, as the heathen do in the synagogues and in the streets. I tell you they do it just to win admiration from men. No, when you do some act of charity...

(JESUS takes out a magic scarf.)

...don’t let your right hand know... what your left hand is doing.

(JESUS changes color of the scarf.)

ALL

(in awe of the trick) Ohhhhhhh.

CAST MEMBER

(to audience)

Did you see that?

JESUS

Your good deed must be in secret.

(ALL put their heads down and whisper.)

CAST MEMBER

(to audience, smugly) It’s a secret!

(JUDAS crosses down to the audience.)

JUDAS (authoritatively)

What the Good Master is telling us is that when God tells a little secret on us, the angels write it down in a big book and then…

(NOTE: JUDAS’ explanation of what JESUS is telling the others can be improvised, as long as it vaguely has to do with secrets. JESUS crosses to JUDAS.)

JESUS

No, no, no. Your Heavenly Father, who sees what is done in secret... (turns to others) ...He will what?

ALL

Reward you!!!

(JESUS pops a champagne popper behind JUDAS’ back and JUDAS happily tries to catch the streamers.)

LEARN YOUR LESSONS WELL

(JESUS begins a new lesson. He recruits others to illustrate it in pantomime.)

Now, no servant can be the slave of two masters.

(A CAST MEMBER plays the SLAVE, two others play MASTERS. The SLAVE is pulled between the MASTERS.)

Either he will love the first...

(The SLAVE hugs one of the MASTERS.) ...and hate the second...

(The SLAVE pushes the MASTER away.)

(JESUS)

...or be devoted to the second...

(The SLAVE hugs the other MASTER.)

...and think nothing of the first.

(The SLAVE sticks out a tongue at the MASTER.)

No man can serve God...

money!

Oh, money!

(The CAST gets into position for the “Rich Man’s Parable.” During this, JESUS assigns a CAST MEMBER to narrate the story.)

RICH MAN NARRATOR

There once was a rich man whose land yielded heavy crops. He debated with himself: “Oh, what am I to do?” he said. “I have not the room to store my produce. Ah, this is what I will do,” he said. “I will tear down my storehouses and build them bigger. I will collect in them all my corn and popcorn and tuna surprise, and M&Ms...

(The specific items the person is planning to store, after the mention of corn, are up to the individual actor.)

And then I will say to myself: ‘Man, you have plenty of good things laid by you, enough to last you many years. Take life easy. Eat. Drink. Enjoy yourself.’ But, then God said to the man...

(The NARRATOR continues to mouth the words, but JESUS, actually says them.)

JESUS

“You fool! This very night you must surrender your life. You have made your money. Who will get it now?”

Godspell JR.

(At the end of the number, in the original production, ALL threw their streamers into the air and hit a final pose.)

SCENE SIX

CAST MEMBER

Master, Master! Blessed are the poor in spirit...

JESUS

(imitating her)

For theirs is the kingdom of Heaven.

(The OTHERS like this “complete-the-sentence” game and begin to get into it, each one challenging JESUS in a rhythm that slowly escalates.)

CAST MEMBER

Blessed are they that mourn...

JESUS

For they shall be comforted.

CAST MEMBER

Blessed are the meek...

JESUS

For they shall inherit the earth.

CAST MEMBER

Blessed are they who hunger and thirst for justice...

JESUS

For they shall be filled.

CAST MEMBER

Blessed are the merciful...

For they shall have mercy.

JESUS

CAST MEMBER

Blessed are the pure in heart...

JESUS

For they shall see God.

CAST MEMBER

Blessed are the peacemakers...

JESUS

For they shall be called the children of God.

CAST MEMBER

Blessed are they who are persecuted for righteousness’ sake...

JESUS

(opening his arms wide in an embracing gesture) For theirs is the kingdom of Heaven!

(JUDAS has been watching, growing more and more upset. The mention of being “persecuted for righteousness’ sake” is too much for him, for he fears this is precisely what will happen to JESUS. Finally he can stand it no more and bursts out:)

JUDAS

(pointing to JESUS with great intensity)

Blessed are you!

(ALL freeze. JESUS, his hands outstretched, is in a position suggestive of the Crucifixion. The lighting goes suddenly to red as JUDAS continues.)

...When men shall revile you and persecute you and say all manner of evil against you falsely.

(The OTHERS are stunned and upset. They look to JESUS for an explanation. He searches for a way to change the subject.)

JESUS

Did I ever tell you that I used to read feet?

(The OTHERS are confused by JESUS and react.)

No, it’s true. Some people read palms or tea leaves, I read feet.

(General disbelief. JESUS picks up a CAST MEMBER’s sneakered foot and looks at the bottom.)

Look what this foot says. It says: “Rejoice!”

CAST MEMBER

(looking at foot) It says “Ree-bok.”

(Groans from the OTHERS. JESUS tries to raise their spirits.)

JESUS

No, no, rejoice and be exceedingly glad. For great is your reward in Heaven.

(JESUS, in a spotlight, does a light soft-shoe on the table as he sings.)

we get the rest.

But

who is the land

for? The

sun and the sand

for? You

guessed– It’s

all for the

best.

(JESUS comes down to join JUDAS and begins to perform another of his miraculous cheap-magic tricks. Showing us that he has nothing up either sleeve, he suddenly holds out his right hand and to an accompanying rimshot, presto! A cane appears! JUDAS, not to be outdone, attempts to duplicate the feat. Twice, again accompanied by a rim shot, he holds out his right hand... but nothing happens. JESUS taps JUDAS’ left hand with his cane, and accompanied by a last rim shot, a cane appears there. JUDAS and JESUS move downstage center with canes and sing their verses simultaneously while dancing a soft-shoe.)

(2nd time only JESUS:) (2nd time even faster) (2nd time only JUDAS:) )

JESUS:

JUDAS: (2nd time JESUS and GROUP 1:)

When you feel

(2nd time JUDAS and GROUP 2:)

Some men are

curse,

bees are in hon -

Your life is

Your pros - pects are

feel - ing cold, Pull - ing pots of

Your wife is

sigh - ing,

best in ev - ’ry town, Best at

shak - ing down, Best at mak - ing

And your ol - ive

tree is dy - ing,

moun - tains of mon -

cay - ing, And

Tem-ples are grey - ing, And

them, But

can’t take it with

&

& & 123

¿ j ¿ ¿ j ¿ You must nev - er be

(spoken) JESUS: ¿ ¿ ¿ ¿ Œ dis - tressed,

OTHERS:

œ Yes, it’s

. œ J œ œ œ œ all for the…

¿ ¿ ¿ ¿ ¿ All your wrongs will

¿ ¿ ¿ ¿ Œ be re - dressed.

ú œ Yes, it’s

. œ J œ J œ . œ all for the… & & 127

¿ ¿ ¿ ¿ Some - one’s got to

JUDAS: ¿ ¿ ¿ ¿ Œ be op - pressed!

Ó ú Yes, Ó ú Yes, JESUS, JUDAS: OTHERS: ú ú it’s ú ú it’s

SCENE SEVEN

(After the applause, JESUS begins to move on to the next lesson.)

JESUS

A sower went to sow some seeds...

(JESUS selects the shyest child to step forward and narrate the parable.)

SHY CHILD

(repeating, shyly)

A sower went to sow some seeds...

(JESUS encourages her to continue, and moves again to watch from the side of the stage. The SHY CHILD goes on, increasingly bravely.)

and as he sowed, some seed fell along the footpath...

(A CAST MEMBER plays the FALLING SEED. Coming downstage near SHY CHILD... and collapsing.)

...Where it was trampled on...

(The SHY CHILD makes trampling noises.)

(SHY CHILD)

...and the birds ate it up.

FALLING SEED

(enacting being eaten by birds)

Tweet, tweet, tweet.

(The SHY CHILD is pleased by the “power” she’s had over this first character in her story, and she proceeds to the next with greater confidence.)

SHY CHILD

Some seed fell on a rock.

(A CAST MEMBER plays the ROCK SEED, crosses to the SHY CHILD and jumps into place. All the OTHERS jump as if the jump has made the stage bounce.)

...And after coming up, withered for lack of moisture.

(The ROCK SEED illustrates this with accompanying vocal grunts and groans. The SHY CHILD, now quite confident, crosses to the next group, which consists of the GOOD SEED, flanked by two WEED SEEDS.)

Some seed fell in among weeds...

(The GOOD SEED “grows.”)

...and the weeds grew up with it...

(The two WEED SEEDS “grow” on either side of the GOOD SEED.)

...and choked it!

(The WEED SEEDS suddenly choke the GOOD SEED, who coughs feebly. The SHY CHILD crosses to the last group who have become distracted and are not paying attention.)

And some of the seed fell into good soil...

(There’s a beat during which the GOOD SOIL GROUP don’t react; then the GOOD SOIL LEADER realizes it’s their turn.)

GOOD SOIL LEADER

Hey, that’s us!

(The GOOD SOIL GROUP leaps up and begin waving their “leaves.”)

SHY CHILD

(with a lavish gesture)

And it grew, and it yielded a hundred fold!

(The SHY CHILD, thrilled to have completed her storytelling successfully, bows repeatedly.)

JESUS

Now, if you have ears to hear, then listen… listen, for this is what the parable means. Do you know what the seed is?

SHY CHILD

A baby!

JESUS

Uh... no. The seed is the word of God...

(JESUS begins to explain the parable to the SHY CHILD, leading her from group to group. Until JESUS and the SHY CHILD get to them, each is frozen in the position in which they ended their previous pantomime.)

JESUS

(coming to the FALLING SEED)

...and that seed which fell along the footpath represents those who hear the Word, but then the Devil comes and carries them off for fear they should believe and be saved.

FALLING SEED

Oy!

JESUS

(coming to the ROCK SEED, still in a strangled position with his head down)

And that which fell upon the rock, oh, they receive the Word with joy when they first hear it, but they have no root and so in time of testing they desert.

(JESUS lifts the ROCK SEED’s head and reacts with “Ugh!” to the strangled look on the ROCK SEED’s face.)

(JESUS)

(coming to the GOOD SEED, still being choked by the WEED SEED)

And that which fell among the weeds, they hear the Word, but their further growth is impaired by cares... (“zaps” one WEED SEED) ...and wealth...

(“zaps” the other WEED SEED) ...and pleasures of the world.

(JESUS makes thunder sound and the WEED SEEDS collapse. The GOOD SEED, thrilled to be released, starts to wave her arms about joyfully.)

(JESUS)

(to the GOOD SEED)

Oh, no, no, no! They bring nothing to fruit.

SHY CHILD

(smugly, to the GOOD SEED)

No fruit, (name of ACTOR playing the good seed).

JESUS

(coming to the last group, which has once again lost interest and is drooping languidly)

But, that which fell among good soil... Hey, good soil, good soil!

(They perk up.)

...They hear the Word with a good and honest heart and through their perseverance yield a harvest.

SCENE EIGHT

you Lord!

JESUS

Now, when the Son of Man comes in all his glory, with all his angels with him, he will sit in state on his throne, with all the nations gathered before him. And He will separate them into two groups, as a shepherd separates the sheep...

(JESUS indicates with a gesture that the GROUP should divide in half; he imitates a SHEEP.)

Maaaa!... from the goats... Baaah!

And then he will put the sheep on his right and the goats on his left...

(On the word “sheep” above, they become sheep and goats and mill around stage “baaa”-ing profusely. JESUS attempts to divide them into two groups, stage left and stage right.)

LOST SHEEP

Sheep on his right? Oh, that right!

JESUS

...And then he will say to those on his right: “Baa baa baa baa baa.”

SHEEP

Baaaaaaa!

(JESUS quiets them, realizes the audience doesn’t understand sheep language and resumes in English.)

JESUS

You have my Father’s blessing. Come and enter the kingdom that has been ready since the world was made.

(The SHEEP file on all fours between JESUS’ legs and under the sawhorse on which he is seated. JUDAS helps herd them behind the sawhorse.)

For when I was hungry you gave me food, when I was thirsty you gave me drink, when I was naked and without a home you took me to your house, and when I was ill and in prison, you came to my aid.

(A GOAT tries to sneak through. JESUS stops him.)

Hey, hey, hey get back there.

SNEAKY GOAT

Baah!

(The SNEAKY GOAT returns to his place in the goat line.)

JESUS

(referring to SHEEP, now gathered around his throne) And then they will say to him:

SHEEP 1

Master, when was it we saw you hungry and gave you food, or thirsty and gave you drink?

SHEEP 2

Yeah, or in prison and helped you?

(still referring to SHEEP)

JESUS

And then he will say to them: Anything you did for one of your brothers here, however humble, you did for me.

SHEEP 3

Oh, I get it.

(referring to GOATS)

JESUS

And then he will say to those on his left....

GOATS

(hopefully)

Yeah?

A curse is upon you!

(cowering)

Baah!

JESUS

GOATS

JESUS

You go from my sight to the eternal fire...

(JESUS points stage left. The LOST SHEEP taps his knee and indicates stage right, JESUS stands corrected and points stage right.)

...to the eternal fire, that has been ready for you with the devil and all his angels. For when I was hungry, you didn’t give me anything to eat; when I was thirsty, you didn’t give me anything to drink; when I was naked and without a home, you didn’t take me to your house; and when I was ill and in prison, you didn’t come to my aid. And they will say to him:

GOAT LEADER

Aw, Master, if we’d a known it was you, we woulda taken you out...

(venomously to the SHEEP) ...for a couple of Lamb Chops!

(The SHEEP cower and the GOATS “baah” and “maah” angrily at each other.)

JESUS

And then he will say to them: Anything you did not do for one of my brothers here, however humble, you did not do for me.

GOATS

Baah!

JESUS (to GOATS)

Go take your place in eternal punishment!

GOATS

Baah!

JESUS

But the righteous shall have everlasting life!

SCENE NINE

FIRST NARRATOR

(the following story is enacted by the OTHERS)

Once upon a time there was a man who had two sons, and the younger said to his father: “Father, give me my share of the property.” So, he divided his estate between them. A few days later, the younger son turned the whole of his share into cash and left home for a distant country, where he squandered it in reckless living. He had spent it all, when a severe famine fell upon the country, and he began to feel the pinch. (Ouch!) So he decided to attach himself to one of the local landowners...

(The SON attaches himself with a sucking sound to the LANDOWNER.)

...Who sent him on the farm to mind the swine.

LANDOWNER

(ordering the SON) Swine!

Swine?

Pigs!

SON

PIGS

FIRST NARRATOR

He would have been glad to have filled his belly with the pods that the pigs were eating...

(The SON gets down to try to eat with the PIGS, but they shoo him off.)

PIGS

Oink, oink, buster!

FIRST NARRATOR

...But no one gave him anything. Then he came to his senses (BOING!) and said: “How many of my father’s paid servants have more food than they can eat, and here I am starving to death? I will set off and I will go to my father and I will say to him: ‘Father, I have sinned against God and against you; I am no longer fit to be called your son; treat me as one of your paid servants.’”

(FIRST NARRATOR)

So he set out for his father’s house, but while he was still a long way off, his father saw him and his heart went out to him. (Lub-dub, lub-dub, lub-dub, lub-dub) The son ran to meet his father, threw his arms around him, and kissed him, saying: “Father, I have sinned against God and against you; I am no longer fit to be called your son; treat me as one of your paid servants.” But the father called to one of his servants: “Quick, fetch me my robe, my best one. Put a ring on his finger and shoes on his feet and bring the fatted calf and kill it. And let us have a feast to celebrate the day, for this son of mine was lost and is found.” And the festivities began!

(ALL begin enacting festivities. The ELDER SON joins the action as a SECOND NARRATOR takes over the dialogue.)

SECOND NARRATOR

Now, the elder son was out on the farm, working. (Whew!) And on his way back, as he approached the house, he heard music and dancing. He called to one of the servants and asked him what it meant. The servant said: “Uh, uh, uh, your nephew – nope, nope, nope, your cousin – nope, nope, your brother, yup, your brother’s come back home again and your father’s killed the fatted calf ‘cause he has him back safe and sound, yup, yup, yup!” But the brother was...

(The ELDER SON enacts being boiling mad. The SECOND NARRATOR watches him, searching for the right word to describe what he sees.)

...irritated.

Oh, c’mon!

ELDER SON

SECOND NARRATOR

He was pretty darned mad! And refused to go in the house. The father came out and pleaded with him but he retorted, saying:

(The ELDER SON elaborately acts out the speech, illustrating virtually every word.)

(SECOND NARRATOR)

“You know how I’ve worked for you all these years and I never once disobeyed your orders and you never gave me so much as a kid for a feast with my friends. But! Once this son of yours turns up, after running through your money with his women, you kill the fatted calf for him!”

(After the ELDER SON’s excitement, he strides away grandly, hopefully accompanied by audience applause. The FATHER, acts out the next section.)

“My boy,” said the father, “You are always with me and everything I have is yours. Now, how could we help but celebrate this happy day, for your brother here was dead and has come back to life” - metaphorically speaking - “was lost and is found.”

(As pantomime continues, the FATHER attempts to reconcile the two SONS. The ELDER BROTHER is extremely unwilling. Twice he is brought to his BROTHER, and twice he can’t help but visit some sort of comic pantomime violence upon him. Finally JESUS steps in to urge the reconciliation also.)

ELDER BROTHER

No, I don’t wanna. Please don’t make me, Jesus... Oh, all right!

(And the SONS make up and embrace as all cheer. JESUS begins a high energy transition, chanting in rhythm. The beat is that of “Light Of the World,” and eventually the music will enter in the same tempo in which JESUS starts it.)

(The lyric, "You are the light of the world" is addressed to the audience.)

(The CAST dances as the music continues. Their mood is light-hearted and celebratory. Now that they are a community they expect their joy to go on forever. JESUS watches them for a moment, pensive. Clearly, he is hesitant to embark on the next stage of the journey. He finally breaks into their merriment.)

JESUS

SCENE TEN

(The music stops and all turn to look at him.)

(JESUS)

This is the beginning.

(And with that one sentence, we realize that all that has gone before has been preparation. He has spent this time forging a community of these people so that now they can join him in the real work he has come here to do.)

(JESUS begins to cross away and the SOLOIST stops him with her voice.)

BEAUTIFUL CITY

JESUS

I tell you this: One of you among us will betray me.

(There is a moment of stunned silence. They each ask in turn:)

OTHERS

Can it be me, Lord?

(The last one to speak must be JUDAS.)

JUDAS

Rabbi, can you mean me?

JESUS

The words are yours. Do quickly what you have to do.

(JUDAS looks at JESUS and the others for a moment. All eyes are on him. Then he gets up and runs out. The sound of a door slamming is heard. JESUS turns back to the others, who sit there stunned and confused. He picks up a matzoh and says the Hebrew blessing for bread over it.)

Baruch atah Adonoy, Eloheinu melech ha-olum, Ha-mo-tzi lechem min ha-aretz.

(JESUS gives each of the others a piece of the matzoh.)

Take this and eat; eat for this is my body.

(The OTHERS eat the pieces of matzoh as JESUS pours wine into two paper cups, while saying the Hebrew blessing for wine.)

Baruch atah Adonoy, Eloheinu melech ha-olum, borei p’ri hagafen.

(He gives the cups to the people on either side of him.)

Take this and drink for this is my blood…

(They drink and pass the cups down so all can drink during the following.)

(JESUS)

…the blood of the covenant shed for the forgiveness of sins. And I tell you I shall never again drink from the fruit of the vine until I drink it again with you in the Kingdom of my Father.

(Each member of the CAST crosses to JESUS and says goodbye as they greeted him in the opening scene.)

Stay here while I go over there to pray. My heart is ready to break with grief.

(He starts to cross downstage left, turns back to the group, and asks them with some urgency:)

Stop here and stay awake with me.

(JESUS continues to downstage left and kneels there to pray. The OTHERS, still in their circle around the “Table,” entwine arms and begin rhythmic breathing, indicating that they have fallen asleep, their right arms rising and falling in rhythm. Their rhythmic breathing continues under JESUS’ next lines, gradually building.)

(He kneels and looks Heavenward.)

Father, if it be possible, let this cup pass me by.

(He pauses a moment, then accepts his fate, almost as if he has heard an answer.)

Yet not as I will, but as thou wilt.

(JESUS rises, and as he crosses back to upstage center, he sees that the others have fallen asleep and calls to them in anguish.)

What!? Could none of you stay awake with me one hour? Stay awake and be spared the test!

(Again looking Heavenward, he cries out.)

Oh, the spirit is willing but the flesh is weak.

ALL

(Reaching for him, they speak as if they are still dreaming, so that the lines overlap.)

Everyone else may fall away on your account, but I never will.

JESUS

(furious)

I tell you this. Tonight before the cock crows, you will all betray me three times.

(ALL resume their rhythmic breathing, increasing in tempo and volume, as JESUS crosses to downstage right and cries one last time to the heavens.)

Father, if it be not possible for this cup to pass me by without my drinking from it, THY... WILL... BE... DONE!

(JESUS lowers his head a moment, and then raises it and looks straight out. On his face is a look of serene acceptance. He is ready for what is to come. There is a moment of silence. And then, the sound of a door slam. The OTHERS wake, startled. JUDAS runs onto the stage. ALL watch him. He looks at JESUS for a moment and approaches him. But at the last moment, he changes his mind, turns and attempts to go. He runs into a pantomime wall. He feels the wall for a moment, in classic pantomime style, and finds it is solid and there is no way around it. He turns and tries to escape upstage, but runs into another wall. The same downstage. He is “walled in” on three sides. With horrified disbelief, he reaches toward JESUS and finds that there is no wall there. That is the only way open to him. Reaching, he falls in that direction. He puts his arms around JESUS and embraces him. JESUS holds him for a moment, then holds him away and looks into his eyes.)

Friend, do quickly what you have to do.

(JESUS kisses JUDAS on the cheek, and JUDAS flinches as if the kiss has burned him. JESUS kisses the other cheek, and then faces front, the serene expression still on his face. JUDAS pauses a moment, then gets to his feet and takes out a police whistle. He blows a shrill blast on the whistle. Loudly and harshly, JUDAS starts singing an oldstyle circus tune, as if he has now become the ringmaster. He rolls up his sleeves like a magician, revealing a red ribbon tied to each of his wrists. He stands above JESUS’ arms outstretched and raises his eyes heavenward. Then with a sudden movement, he grabs JESUS under the arms and begins to drag him back towards the fence. The stage is flooded in white light. ALL rush to the wall, except a CAST MEMBER, who grabs a prop and raises it to strike JUDAS.)

(JESUS)

Put down the sword; he who lives by the sword, dies by the sword.

(The CAST MEMBER throws down the prop sword and throws himself on the fence. JUDAS drags JESUS upstage center and stands him on an orange-crate in preparation for the crucifixion. During the following, JUDAS takes the red ribbons and ties JESUS’ outstretched arms to the fence.)

Do you not suppose that I could appeal to my Father, who would at once send to me twelve legions of angels to come to my aid? Do you take me for a bandit that you come after me with swords and cudgels? Day after day I sat teaching in the synagogue and you didn’t come after me then.

(JUDAS’ preparations are completed and JESUS is tied to the fence. JUDAS throws himself on the fence near JESUS, as JESUS cries out.)

But all this has happened to fulfill what the prophets have written!

(Searing electric music sounds as JESUS and the OTHERS writhe, as if electrified.)

Godspell JR.

Finale

FINALE

(softly)

# . ú bleed - ing. (And once again, they writhe as if electricity courses through them.) 2

Oh, God, you’re ALL: (softly)

(There is a long music break, during which all writhe, screaming and wailing. Then, as if the electric current has suddenly been switched off, ALL drop to the ßoor, slumped near the fence, as JESUS' body slumps.)

(There is a moment of stillness as the lights almost fade to black. Then very softly at Þrst, we hear the OTHERS singing as the lights slowly begin to come up again.)

slowly move to JESUS' body and begin a slow rhythmic pantomime walk downstage, as if leading a cortege.)

(ALL continue to pantomime walk towards the audience, slowly moving to the apron of the stage.)

(JESUS and COMPANY run back in for the curtain call, a rhythmic and joyous reprise of “Day By Day.”)

THE END

glossary

actor: A person who performs as a character in a play or musical.

author: A writer of a play or musical also known as a playwright. A musical’s authors include the book writer, a composer and a lyricist.

blocking: The actors’ movement in a play or musical, not including the choreography. The director usually assigns blocking during rehearsals.

book writer: One of the authors of a musical. The book writer writes the lines (dialogue) and the stage directions. Also called the librettist.

cast: The performers in a show.

cheating out: Turning oneself slightly toward the house when performing so the audience may better see one’s face and hear one’s lines.

choreographer: A person who creates and teaches the dance numbers in a musical.

composer: A person who writes music for a musical.

creative team: The author(s), director, choreographer, music director, and designers for a play or musical.

cross: When an actor onstage moves toward or away from another actor or object.

dialogue: A conversation between two or more characters.

director: A person who provides the artistic vision, coordinates the creative elements and stages the play.

downstage: The portion of the stage closest to the audience. The opposite of upstage.

house: The area of the theater where the audience sits to watch the show.

house left: The left side of the theater from the audience’s perspective. If something is located “house left” it is to the left side of the audience as they are seated in the theater.

house right: The right side of the theater from the audience’s perspective. If something is located “house right” it is to the right side of the audience as they are seated in the theater.

lines: The dialogue spoken by the actors.

lyricist: A person who writes the lyrics of a musical. The lyricist works with a composer to create songs.

lyrics: The words of a song.

monologue: A dramatic speech by one actor.

music director: A person who is in charge of teaching the songs to the cast and orchestra and maintaining the quality of the performed score.

musical: A play with songs that are used to tell a story.

off-book: The actor’s ability to perform his or her memorized lines without holding the script.

offstage: Any area out of view of the audience. Also called backstage.

onstage: Anything on the stage and within view of the audience is said to be onstage.

opening night: The first official performance of a production, after which the show is frozen, meaning no further changes are made, and reviews may be published.

play: A type of dramatic writing meant to be performed live on a stage. A musical is one kind of play.

protagonist: The main character in a musical. The action centers around this character.

raked stage: A stage which is raised slightly upstage so that it slants towards the audience.

rehearsal: A meeting during which the cast learns and practices the show.

script: 1) The written words that make up a show, including spoken words, stage directions and lyrics. 2) The book that contains those words. speed-through: To speak through the dialogue of a scene as quickly as possible. A speed-through rehearsal helps actors memorize their lines, and it infuses energy into the pacing of a scene.

stage directions: Words in the script that describe the actions for the characters that are not part of the dialogue.

stage left: The left side of the stage, from the actor’s perspective. Also house right.

stage manager: The stage manager is responsible for keeping all rehearsals and performances on schedule, along with acting as a mediator within the company.

stage right: The right side of the stage, from the actor’s perspective. Also house left.

upstage: The part of the stage furthest from the audience. The opposite of downstage.

warm-ups: Exercises at the beginning of a rehearsal or before a performance that prepare actors’ voices and bodies.

Broadway Junior Collection® Actor’s Script • broadwayjr.com

Actor’s Script Credits

Writer

Timothy Allen McDonald

Designers

Steven G. Kennedy

Kevin Johnson

Contributing Editors

Scott Lupi

Lindsay Weiner

Managing Editor

Susan Fuller

Adaptation and support materials developed by iTheatrics under the supervision of Timothy Allen McDonald.

See our complete line of Broadway Junior and MTI’s KIDS Collection musicals online at: www.broadwayjr.com

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